From Academy Award® winner Barry Levinson and Emmy® Award winner Tom Fontana, “Copper” is a gripping crime drama series, set in 1864 New York City, filled with intrigue, corruption, mystery and murder. Kevin Corcoran, an Irish-American former boxer turned cop, returns from the Civil War to find his wife missing and his daughter dead. Corcoran seeks justice for the powerless in the notorious immigrant neighborhood of Five Points. Bonded by battle to two Civil War compatriots – the wayward son of a wealthy industrialist and an African-American physician who secretly assists the forensic investigations – Corcoran is thrust into the contrasting worlds of elegant and corrupt Fifth Avenue, and the emerging African-American community in Northern Manhattan. The three men share a secret from the battlefield that inextricably links their lives forever.

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Clockwise:

Irish-American detective Kevin Corcoran struggles to walk a straight line in New York City’s notoriously crooked Five Points neighborhood. Desperate to learn the truth about his wife’s disappearance and their daughter’s murder, he dedicates himself to seeking justice for the powerless and overlooked. Corcoran shares a secret from the battlefield with Robert Morehouse and Doctor Matthew Freeman that inextricably links their lives together. As he did in the Union Army, Corcoran proves intelligent, valiant and tenacious – stopping at nothing to bring those responsible to justice.

Doctor Matthew Freeman is an African-American physician who was Morehouse's valet during the Civil War -- where he first encountered Corcoran. When called upon, Freeman now assists Corcoran in murder investigations though receives no credit for his contribution. Freeman practices modern scientific methods of deduction, but precinct superiors believe this to be Corcoran's work and he doesn't tell them otherwise. Freeman is devoted to his wife Sara whose two brothers were lynched during the Draft Riots. Anxious to allay her fear of white men, he moves them to the African-American community of Carmansville in order to assure her peace of mind.

Detective Francis Maguire is Corcoran's closest friend and partner in the Sixth Precinct. Maguire assists Corcoran in his search for his missing wife, as well as in navigating the underground criminal world of Five Points. Though he cares deeply for those closest to him, Maguire possesses a quick temper and occasionally loses control. Enamored with Molly Stuart, Maguire harbors a desire to settle down and marry.

A handsome bon vivant and part of the Manhattan aristocracy, Robert Morehouse and Corcoran were mustered out of the 71st Regiment together. Though raised in a life of privilege, Morehouse was changed by the war and now sees the lower class, particularly Irish and African-Americans, as his equals – much to his father's dismay. Spending more time drinking and cavorting with prostitutes than making a name for himself in the business world, Morehouse consistently falls short of his father's expectations.

Sara is Doctor Matthew Freeman's wife. Scarred from watching her two brothers lynched during the Draft Riots, she is anxious around and distrustful of white men. Sara refuses to leave her house, despite her husband's gentle coaxing. Sara convinces Doctor Freeman to leave Five Points in hopes of finding security in the African-American community of Carmansville in Northern Manhattan.

With a saloon and brothel located in the center of Five Points, Eva Heissen, the Madame of Eva's Paradise, is a shrewd businesswoman. A long list of patrons including Corcoran, Maguire, and several other coppers from the Sixth Precinct, help Eva maintain control over her employees with stern precision. Slow to trust, her suspicious nature helps her stay one step ahead of her clients and maintain a successful business. Despite her tough-as-nails exterior, she shows her gentler side when she is with Corcoran – who finds comfort in Eva’s arms while his heart yearns for his missing wife.

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Zabka said:

Looks interesting and I love the setting. That also explains why they've been showing Gangs of New York.

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"Copper" is very much a work in progress, but it's a work in progress from a creative team whose track record all but demands investing the time to see what it becomes. Fontana isn't infallible, but the pieces are certainly here for him to do something special down the road.

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This is BBC America's first original scripted series, Barry Levinson is an executive producer and its head writer is Tom Fontana ("Oz," "Homicide"), so my expectations were robust when it came to "Copper," in which Tom Weston-Jones plays a New York detective working the rough Five Points district in 1864.

As it is, the decent but unspectacular "Copper" comes off as "Deadwood Cop," minus the Milch: It's more or less a police procedural with added corsets and waistcoats. In the first two episodes, the drama doesn't do much with the character-building opportunities offered by cable, and that's very strange, given that British dramas (especially the top tier of U.K. cop dramas) are usually so meaty in that regard. Weston-Jones' character has a troubled past, but his personal quest feels a little shopworn, and the police cases aren't that complex or unpredictable.

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Copper so far feels flat and undistinguished, a series that might have seemed novel on cable five or ten years ago, but now feels surprisingly unsurprising. It introduces us to Irish NYC cop Kevin “Corky” Corcoran, a Civil War vet who suffered a family tragedy while he was off fighting the Confederacy, and his war buddies: an uptown dandy, Robert Morehouse (Kyle Schmid), and Matthew Freeman (Ato Essandoh), an African American doctor who secretly helps Corky solve cases. The general approach—tortured male (anti)hero with a dark past and ruthless methods—is standard-issue on cable now. The specifics, especially Corky’s backstory, feel a lot like a citified Hell on Wheels. Call it Hell on Foot.

Yet Copper’s story could, potentially, be absorbing and distinctive enough to make you look past that. There’s a lot here, starting with the novelty (from our perspective) of police work in the 1860s, long before Miranda rights and DNA analysis. Morehouse and his well-connected family provide entree to the story of the 1864 Presidential election, in which the already-torn nation was struggling over how best to resolve the war. And potentially, the life of Freeman and his family, in pre-Harlem upper Manhattan, could be a fascinating look at an underexplored part of America’s racial history, like Chalky White’s Atlantic City neighborhood in Boardwalk Empire.

Still, the show has enough raw ingredients, enough potential in its ideas, and a strong enough creative team that it deserves more patience than I’d otherwise give it. The beginning of Copper puts a lot of elements into its sepia photograph. Let’s hope it can make that picture move.

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border said:

I can't imagine the setting being even remotely appealing to most audiences. I think this one is probably DOA.

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Based on the ambition alone, it’s probably worth sticking with Copper to see where it goes, though it’s a little slow out of the box. The story Levinson and Fontana are trying to tell here might add up to a fascinating novel, particularly if BBC America keeps footing the bill -- and they’d better: This is a series absolutely geared for the long haul, not the short reveal. Unfortunately, the first couple of chapters seem a bit off. The acting is stiff, as if everyone is still trying to make sense of the times and the mannerisms. The writing tends to be a bit obvious and long on exposition (even given the immense story being undertaken). In some ways, Copper has the same problems AMC’s Hell on Wheels does, which is that there’s an excellent show there somewhere, just not on the screen. If the actors and writers can hit their stride, whatever grand visions Levinson and Fontana have for Copper could be realized. But in the competitive world of scripted drama, the series is going to need to kick in quick.

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As a dramatic time machine, and even as historical soap, Copper is a well-meaning botch. It borrows from distinguished sources but doesn't alchemize them into something striking. Unless you have a jones for historical trivia or like playing spot-the-references, you can take the beat cop's eternal mantra to heart: Move along, folks, there's nothing to see here.

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B+

The body count is high, the sexuality frank, with brass knuckles and broken bones as common as the opium, booze and morphine. Sunday's pilot episode presents a lot to take in, but the second hour follows that setup with a more manageable episodic structure that offers some resolution -- and perhaps a few too many pat or handy happenings.
But this is commercial series TV, so what kind of accusation is that, really? The characters hold promise, the show looks swell, the stories reflect rich history and the makers have earned our trust.

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Period pieces are always better when they contain brass knuckles. This isn’t the only reason to recommend BBC America’s newest drama, “Copper,” about a cop working the infamous Five Points beat in mid-1860s New York, but brass-knuckle fisticuffs from guys wearing top hats are always welcome.

“Copper” has its share of flaws — the set design is all right, but far inferior to the authenticity of period shows like “Mad Men” or “Boardwalk Empire,” and occasional plot developments are either obvious or forced. Covering up the weaknesses is some brutal action/violence and a willful excitement factor.

“Copper” should plow through case-of-the-week stories while developing the main players and their motivations to round out the series. It can’t all be brass-knuckle beat downs after all.

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mrklaw said:

BBC America. Original drama. How does this work? Does the normal BBC get this for free, or is it a co-production of some kind?

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Is BBC America a commercial arm of the BBC?

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Fiction said:

This comes on soon right? Tonight?

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Fiction said:

This comes on soon right? Tonight?

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While it’s visually stunning with rich period ambience, its characters haven’t stepped out of great literature. They’re the people who walk through our lives today, speaking in a tone and cadence that, with a few adjustments for references and idioms, would fit comfortably into a contemporary cable or even broadcast drama.

Anyone who likes a good CBS procedural can enjoy “Copper.”

Once he’s got our attention, Levinson starts throwing the curveballs that make “Copper” different. Before we know it he’s poking into the hardest of the issues, the ones with which we still wrestle 150 years later, like race and class and money and the corruption of power.

Life is tough for almost everyone here, and justice is often a roll of the dice. But this 10-episode season, which with any luck will be only the first, turns “Copper” into gold.

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B

“Copper” could feel more authentic than it does, and its abundantly familiar titular archetype could be more intriguing, but I attribute the latter to Pilot Syndrome. Off the bat, it’s not nearly as confident or expressive in its vision as most HBO or AMC series, and therefore worth noting that AMC passed on the pilot's script. A much larger budget is needed to suspend our disbelief, or at least captivate us. Given the rich time period and the expected dedication of its producers to serving and toning the story, I trust where "Copper" is headed.

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"Copper" has much to recommend it: action, passion and great performances arising from an exploration of classic American themes. It could turn out to be TV gold for BBC America.

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B+

“Copper” might remind you of HBO’s late, still lamented “Deadwood,” only with fewer horses and a lot less flowery language. As in “Deadwood”, the law is lax and the prostitutes are often the most virtuous residents. The violence is just as startling, just as brutal.

The plots echo the present in the past. Rich businessmen wonder about Lincoln’s chances for re-election and what peace might mean for prosperity. The poor are expendable. What can’t be bought has no value.

“Copper” spins somber stories of gold.

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985boi said:

BBC America is in hd now on directv? Fucking awesome!

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Clevinger said:

- some clunky exposition in the dialogue, but hopefully with the introductions out of the way that's over with

I've got a question though:

Spoiler

Who is the guy who lost his leg in relation to the murderer? His son? Or just a friend?

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BBC AMERICA’s first original scripted series COPPER, which premiered on Sunday, August 19, has become the channel’s highest rated series premiere ever. COPPER delivered 1.8 million (Cume of 10:00pm premiere and three consecutive replays) viewers in total audience.

In its 10:00pm premiere, COPPER attracted 1.1 million (1,107,000 P2+ and 514,000 P25-54) total viewers and delivered over half a million in A25-54.

Perry Simon, General Manager, Channels, BBC Worldwide America commented: “This is a great result for BBC AMERICA, as our distribution continues to grow – now approaching 80 million homes. The response to COPPER has been tremendous and we’re off to a promising start.”

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RatskyWatsky said:

BBC America's 'Copper' Becomes the Channel's Highest Rated Series Premiere Ever

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Decado said:

That's great...but what other original programming of note do they have?

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Decado said:

So does it look like Copper is just a procedural with an interesting setting, or is it a serial or a procedural with a strong overarching storyline ala Fringe?

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Decado said:

So does it look like Copper is just a procedural with an interesting setting, or is it a serial or a procedural with a strong overarching storyline ala Fringe?

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~Devil Trigger~ said:

Solid series so far

ima keep watching

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And then Corky just proceeds to kill Madam Pompidou? I mean, he couldn't have arrested her because he wasn't supposed to be there, but still, it seemed like an extreme thing to do.

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Clevinger said:

A couple things. He was intoxicated on morphine, plus the little girl reminds him so much of his daughter. So I think his reaction was somewhat expected. Plus, him or the girl killing the rich guy is a pretty big deal; can't have a witness. Plus plus, she sells children.

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Donal Logue, Eamonn Walker, Lee Tergesen and Andrew Howard join the cast for the second season.

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RatskyWatsky said:

Did anyone else watch this show? The season finale was this past Sunday. I thought it was a pretty good season overall (though not without its share of problems), and I was happy that it didn't turn out to be a procedural, which was my concern going in. It wasn't exactly the type of show to inspire a lot of discussion, here or elsewhere, so I'm not surprised that this thread was pretty much dead all season. I know I had a hard time trying to think up something to say about it every week.

Anyway, season 2 starts next summer, so hopefully by then it will have gained a little more traction.

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Amir0x said:

why doesn't the show inspire a lot of discussion? I'm about to start watching it and was just curious why that might be

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